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About Empire Falls

With Empire FallsRichard Russo cements his reputation as one of America’s most compelling and compassionate storytellers.

Miles Roby has been slinging burgers at the Empire Grill for 20 years, a job that cost him his college education and much of his self-respect. What keeps him there? It could be his bright, sensitive daughter Tick, who needs all his help surviving the local high school. Or maybe it’s Janine, Miles’ soon-to-be ex-wife, who’s taken up with a noxiously vain health-club proprietor. Or perhaps it’s the imperious Francine Whiting, who owns everything in town–and seems to believe that “everything” includes Miles himself. In Empire FallsRichard Russo delves deep into the blue-collar heart of America in a work that overflows with hilarity, heartache, and grace.

About Empire Falls

Richard Russo—from his first novel, Mohawk, to his most recent, Straight Man—has demonstrated a peerless affinity for the human tragicomedy, and with this stunning new novel he extends even further his claims on the small-town, blue-collar heart of the country.

Dexter County, Maine, and specifically the town of Empire Falls, has seen better days, and for decades, in fact, only a succession from bad to worse. One by one, its logging and textile enterprises have gone belly-up, and the once vast holdings of the Whiting clan (presided over by the last scion’s widow) now mostly amount to decrepit real estate. The working classes, meanwhile, continue to eke out whatever meager promise isn’t already boarded up.

Miles Roby gazes over this ruined kingdom from the Empire Grill, an opportunity of his youth that has become the albatross of his daily and future life. Called back from college and set to work by family obligations—his mother ailing, his father a loose cannon—Miles never left home again. Even so, his own obligations are manifold: a pending divorce; a troubled younger brother; and, not least, a peculiar partnership in the failing grill with none other than Mrs. Whiting. All of these, though, are offset by his daughter, Tick, whom he guides gently and proudly through the tribulations of adolescence.

A decent man encircled by history and dreams, by echoing churches and abandoned mills, by the comforts and feuds provided by lifelong friends and neighbors, Miles is also a patient, knowing guide to the rich, hardscrabble nature of Empire Falls: fathers and sons and daughters, living and dead, rich and poor alike. Shot through with the mysteries of generations and the shattering visitations of the nation at large, it is a social novel of panoramic ambition, yet at the same time achingly personal. In the end, Empire Falls reveals our worst and best instincts, both our most appalling nightmares and our simplest hopes, with all the vision, grace and humanity of truly epic storytelling.

About Empire Falls

Richard Russo—from his first novel, Mohawk, to his most recent, Straight Man—has demonstrated a peerless affinity for the human tragicomedy, and with this stunning new novel he extends even further his claims on the small-town, blue-collar heart of the country.

Dexter County, Maine, and specifically the town of Empire Falls, has seen better days, and for decades, in fact, only a succession from bad to worse. One by one, its logging and textile enterprises have gone belly-up, and the once vast holdings of the Whiting clan (presided over by the last scion’s widow) now mostly amount to decrepit real estate. The working classes, meanwhile, continue to eke out whatever meager promise isn’t already boarded up.

Miles Roby gazes over this ruined kingdom from the Empire Grill, an opportunity of his youth that has become the albatross of his daily and future life. Called back from college and set to work by family obligations—his mother ailing, his father a loose cannon—Miles never left home again. Even so, his own obligations are manifold: a pending divorce; a troubled younger brother; and, not least, a peculiar partnership in the failing grill with none other than Mrs. Whiting. All of these, though, are offset by his daughter, Tick, whom he guides gently and proudly through the tribulations of adolescence.

A decent man encircled by history and dreams, by echoing churches and abandoned mills, by the comforts and feuds provided by lifelong friends and neighbors, Miles is also a patient, knowing guide to the rich, hardscrabble nature of Empire Falls: fathers and sons and daughters, living and dead, rich and poor alike. Shot through with the mysteries of generations and the shattering visitations of the nation at large, it is a social novel of panoramic ambition, yet at the same time achingly personal. In the end, Empire Falls reveals our worst and best instincts, both our most appalling nightmares and our simplest hopes, with all the vision, grace and humanity of truly epic storytelling.

From the Hardcover edition.

About Empire Falls

Richard Russo—from his first novel, Mohawk, to his most recent, Straight Man—has demonstrated a peerless affinity for the human tragicomedy, and with this stunning new novel he extends even further his claims on the small-town, blue-collar heart of the country.

Dexter County, Maine, and specifically the town of Empire Falls, has seen better days, and for decades, in fact, only a succession from bad to worse. One by one, its logging and textile enterprises have gone belly-up, and the once vast holdings of the Whiting clan (presided over by the last scion’s widow) now mostly amount to decrepit real estate. The working classes, meanwhile, continue to eke out whatever meager promise isn’t already boarded up.

Miles Roby gazes over this ruined kingdom from the Empire Grill, an opportunity of his youth that has become the albatross of his daily and future life. Called back from college and set to work by family obligations—his mother ailing, his father a loose cannon—Miles never left home again. Even so, his own obligations are manifold: a pending divorce; a troubled younger brother; and, not least, a peculiar partnership in the failing grill with none other than Mrs. Whiting. All of these, though, are offset by his daughter, Tick, whom he guides gently and proudly through the tribulations of adolescence.

A decent man encircled by history and dreams, by echoing churches and abandoned mills, by the comforts and feuds provided by lifelong friends and neighbors, Miles is also a patient, knowing guide to the rich, hardscrabble nature of Empire Falls: fathers and sons and daughters, living and dead, rich and poor alike. Shot through with the mysteries of generations and the shattering visitations of the nation at large, it is a social novel of panoramic ambition, yet at the same time achingly personal. In the end, Empire Falls reveals our worst and best instincts, both our most appalling nightmares and our simplest hopes, with all the vision, grace and humanity of truly epic storytelling.

“Russo is one of the best novelists around.” –The New York Times Book Review

“The history of American literature may show that Richard Russo wrote the last great novel of the 20th century.” –Christian Science Monitor

“Nobody does small-town life better than Richard Russo.” –Atlanta Journal-Constitution

About Richard Russo

Richard Russo lives with his wife in Camden, Maine, and Boston. In 2002 he was awarded the Pulitzer Prize for Empire Falls.

About Richard Russo

Richard Russo lives with his wife in Camden, Maine, and Boston. In 2002 he was awarded the Pulitzer Prize for Empire Falls.

About Richard Russo

Richard Russo lives with his wife in Camden, Maine, and Boston. In 2002 he was awarded the Pulitzer Prize for Empire Falls.

About Richard Russo

Richard Russo lives with his wife in Camden, Maine, and Boston. In 2002 he was awarded the Pulitzer Prize for Empire Falls.

Author Q&A

Q: Was there a particular event or image that sparked EMPIRE FALLS?A: When I finish a novel, it’s hard to go back and try to reconstruct its beginnings. It’s a little like an interrogation: what did you know and when did you know it? Here are a couple of things, though. When I was living in Waterville, Maine, some years ago, a factory closed down that had employed a large number of women who had been sewing famous-label men’s dress shirts for much of their lives. They’d done everything they could to save their jobs and the factory, but the multi-national company that owned it shut them down anyway. That struck me as a story that was playing out all over the country, if not the world. From the beginning of my writing career, I’ve always been interested in ordinary people swept up in economic and political forces they can’t begin to comprehend, as well as in the changing face of American labor. Becoming a writer has only deepened my sympathies for working people, who are always, it seems to me, the first to be sold out.The other event that had burrowed deep was the school shooting in Paducah, especially the question it begged: how could such a thing happen here? The answers that are typically offered to such questions are sociological and political—tighter gun control, return to family values, reducing violence on television and video games. Better answers to such impossible questions, I’ve always thought, are offered by novels, which ask you to live horror rather than simply witness or think about it.Finally, in my previous novels I’ve written a lot about fathers and sons. As a father of two beloved daughters, I thought it high time to put a father/daughter relationship at the heart of one of my novels. In fact, now that I look back on it, it’s the thing I’m most proud of in this new book.Q: EMPIRE FALLS has a large cast of characters, any of whom might have been the center of the novel. How did you decide on Miles Roby, the middle-aged manager of the Empire Grill, as your protagonist?A: I suppose there are two answers to this question. The first is kind of a non-answer, though it may be the truer. Such decisions are often intuitive; they feel right. Which is another way of saying that you decide before you’re even aware of the fact that you have a decision to make. The more “analytical” answer is that of all the characters in the novel, Miles may be the most trapped—and that’s saying something, since they’re all trapped in one way or another. Janine is trapped by her need to be beautiful; Tick by her youth; David Roby by an accident. Even Mrs. Whiting, who rules the town, is in a way cornered by it. But Miles is trapped more interestingly and more completely–by the past, by his faith, by an old love, by his devotion to his daughter, by his own decency. I’m always drawn to the character whose dilemma is such that I can’t imagine what I would do if I were in his shoes.Q: People in Empire Falls often remind Miles that he stands to inherit something from Mrs. Whiting, yet the very possibility of this inheritance seems to imprison him. Is this an example of the price of wealth, even predicted wealth?A: I suppose that’s one way to look at it. My own feeling is that people are generally wrong to wait for others to make good on promises, either explicit or implied. Was it Lillian Hellman who used to tell young women writers: “Don’t expect anyone to save you? Save yourself.” Maybe it was Flannery O’Connor. Somebody pretty damn smart, anyway. It’s good advice, but tough to follow when you’ve been told the check’s in the mail. Whole communities wait for promises to be fulfilled, long after those who made the promises are dead and buried. And like individuals, communities imagine promises and also mishear them. Miles is pretty sure Mrs. Whiting has made a promise, but is it one he heard? Imagined? Hoped for? And even if it were granted, would that be a good or bad thing?Q: Can you talk about the effect of the collapse of small-town economies on the younger generation, as represented by Miles’s daughter Tick and her peers?A: I think the place you grow up in is a lot like “The Hotel California”: you can check out any time you like, but you can never leave. We’ll never know any place better than the place we grew up, and no place, I suspect, will ever be more important to us, at least in terms of our imaginative lives. For that reason there’s something tragic in the understanding that many kids from small towns have—that in order to be a success in life, they’ll have to leave; to remain behind would be an admission of failure. For many, it means leaving their heart’s home. Then again, there’s a long American tradition, embodied in the novels of Scott Fitzgerald and Sinclair Lewis and others, which suggests that leaving a small town may be about the best thing that can happen to any young person. One thing seems clear: we’ve become a far-flung nation. “Where do you want to go today?” Bill Gates wants to know. Implied is that nobody wants to stay home.Q: Miles considers the rich “beautiful people” on Martha’s Vineyard almost foreign to him, and yet he’s drawn to them. Do you find yourself identifying with this perspective?A: Well, who isn’t attracted to beauty? Or, for that matter, to things foreign? Both Gatsby and Nick Carroway are attracted to the mansions and the fancy cars and the wild parties on Long Island, just as Pip is attracted to privilege in Great Expectations. Show me someone who claims not to be attracted to such things and I’ll show you either a liar or a person with no imagination. That said, wealth and beauty play a key role in Gatsby’s destruction, and they cause Pip to behave in such a way that he loses all sense of his truest self. In the end they send Nick scurrying back to his bedrock Midwest values, feeling like he himself has dodged a bullet. Such is the nature of seduction.Q: How do you imagine Mainers, and other New Englanders, will respond to the novel?A: No clue. I thought academics would hate my last novel, Straight Man, but for the most part they’ve embraced it. When I read from the novel on book tour, professors showed up wearing those fake nose/glasses I have Lucky Hank wearing when he threatens to kill a duck a day. In general, I think people like having their experience of life validated; they like to think they count and they’re glad you’ve noticed them, even if you get things wrong. In Empire Falls, I didn’t want to “do Maine” in the sense of using a lot of down-east dialect or local color. Even when I was writing about upstate New York, I was always more interested in locating people by class and work than by region; it’s the latter that makes you a “regional” writer, I suspect. I hope people in Maine like the book; in the past, I’ve sold very well in New England. But my greater hope is that the book will ring true everywhere.Q: What might surprise your readers about EMPIRE FALLS?A: Well, I hope everything and nothing. When a favorite author of mine comes out with a new book, I always hope for two contradictory things: first, I hope it’s like all the other books of his or hers that I love, and second, I hope he’s not going to repeat himself. Sure, it’s a paradox, but I suspect I’m not alone in my desires. So, I hope that when readers pick up Empire Falls and read the first chapter they’ll feel that, yes, they’re in a Russo novel, but not one they’ve read before. I’d also hope that their surprises in the reading parallel my own in the writing; I was surprised on virtually every page, and I hope readers will be too, because I wouldn’t like to think that either my style or my peculiar way of seeing things have become predictable. What surprised me most about the book was how much it took out of me. Even though we know it won’t, most authors keep hoping that writing novels will get easier as a result of experience. It doesn’t, probably because it’s not supposed to.

From the Hardcover edition.

Q: Was there a particular event or image that sparked EMPIRE FALLS?A: When I finish a novel, it’s hard to go back and try to reconstruct its beginnings. It’s a little like an interrogation: what did you know and when did you know it? Here are a couple of things, though. When I was living in Waterville, Maine, some years ago, a factory closed down that had employed a large number of women who had been sewing famous-label men’s dress shirts for much of their lives. They’d done everything they could to save their jobs and the factory, but the multi-national company that owned it shut them down anyway. That struck me as a story that was playing out all over the country, if not the world. From the beginning of my writing career, I’ve always been interested in ordinary people swept up in economic and political forces they can’t begin to comprehend, as well as in the changing face of American labor. Becoming a writer has only deepened my sympathies for working people, who are always, it seems to me, the first to be sold out.The other event that had burrowed deep was the school shooting in Paducah, especially the question it begged: how could such a thing happen here? The answers that are typically offered to such questions are sociological and political—tighter gun control, return to family values, reducing violence on television and video games. Better answers to such impossible questions, I’ve always thought, are offered by novels, which ask you to live horror rather than simply witness or think about it.Finally, in my previous novels I’ve written a lot about fathers and sons. As a father of two beloved daughters, I thought it high time to put a father/daughter relationship at the heart of one of my novels. In fact, now that I look back on it, it’s the thing I’m most proud of in this new book.Q: EMPIRE FALLS has a large cast of characters, any of whom might have been the center of the novel. How did you decide on Miles Roby, the middle-aged manager of the Empire Grill, as your protagonist?A: I suppose there are two answers to this question. The first is kind of a non-answer, though it may be the truer. Such decisions are often intuitive; they feel right. Which is another way of saying that you decide before you’re even aware of the fact that you have a decision to make. The more “analytical” answer is that of all the characters in the novel, Miles may be the most trapped—and that’s saying something, since they’re all trapped in one way or another. Janine is trapped by her need to be beautiful; Tick by her youth; David Roby by an accident. Even Mrs. Whiting, who rules the town, is in a way cornered by it. But Miles is trapped more interestingly and more completely–by the past, by his faith, by an old love, by his devotion to his daughter, by his own decency. I’m always drawn to the character whose dilemma is such that I can’t imagine what I would do if I were in his shoes.Q: People in Empire Falls often remind Miles that he stands to inherit something from Mrs. Whiting, yet the very possibility of this inheritance seems to imprison him. Is this an example of the price of wealth, even predicted wealth?A: I suppose that’s one way to look at it. My own feeling is that people are generally wrong to wait for others to make good on promises, either explicit or implied. Was it Lillian Hellman who used to tell young women writers: “Don’t expect anyone to save you? Save yourself.” Maybe it was Flannery O’Connor. Somebody pretty damn smart, anyway. It’s good advice, but tough to follow when you’ve been told the check’s in the mail. Whole communities wait for promises to be fulfilled, long after those who made the promises are dead and buried. And like individuals, communities imagine promises and also mishear them. Miles is pretty sure Mrs. Whiting has made a promise, but is it one he heard? Imagined? Hoped for? And even if it were granted, would that be a good or bad thing?Q: Can you talk about the effect of the collapse of small-town economies on the younger generation, as represented by Miles’s daughter Tick and her peers?A: I think the place you grow up in is a lot like “The Hotel California”: you can check out any time you like, but you can never leave. We’ll never know any place better than the place we grew up, and no place, I suspect, will ever be more important to us, at least in terms of our imaginative lives. For that reason there’s something tragic in the understanding that many kids from small towns have—that in order to be a success in life, they’ll have to leave; to remain behind would be an admission of failure. For many, it means leaving their heart’s home. Then again, there’s a long American tradition, embodied in the novels of Scott Fitzgerald and Sinclair Lewis and others, which suggests that leaving a small town may be about the best thing that can happen to any young person. One thing seems clear: we’ve become a far-flung nation. “Where do you want to go today?” Bill Gates wants to know. Implied is that nobody wants to stay home.Q: Miles considers the rich “beautiful people” on Martha’s Vineyard almost foreign to him, and yet he’s drawn to them. Do you find yourself identifying with this perspective?A: Well, who isn’t attracted to beauty? Or, for that matter, to things foreign? Both Gatsby and Nick Carroway are attracted to the mansions and the fancy cars and the wild parties on Long Island, just as Pip is attracted to privilege in Great Expectations. Show me someone who claims not to be attracted to such things and I’ll show you either a liar or a person with no imagination. That said, wealth and beauty play a key role in Gatsby’s destruction, and they cause Pip to behave in such a way that he loses all sense of his truest self. In the end they send Nick scurrying back to his bedrock Midwest values, feeling like he himself has dodged a bullet. Such is the nature of seduction.Q: How do you imagine Mainers, and other New Englanders, will respond to the novel?A: No clue. I thought academics would hate my last novel, Straight Man, but for the most part they’ve embraced it. When I read from the novel on book tour, professors showed up wearing those fake nose/glasses I have Lucky Hank wearing when he threatens to kill a duck a day. In general, I think people like having their experience of life validated; they like to think they count and they’re glad you’ve noticed them, even if you get things wrong. In Empire Falls, I didn’t want to “do Maine” in the sense of using a lot of down-east dialect or local color. Even when I was writing about upstate New York, I was always more interested in locating people by class and work than by region; it’s the latter that makes you a “regional” writer, I suspect. I hope people in Maine like the book; in the past, I’ve sold very well in New England. But my greater hope is that the book will ring true everywhere.Q: What might surprise your readers about EMPIRE FALLS?A: Well, I hope everything and nothing. When a favorite author of mine comes out with a new book, I always hope for two contradictory things: first, I hope it’s like all the other books of his or hers that I love, and second, I hope he’s not going to repeat himself. Sure, it’s a paradox, but I suspect I’m not alone in my desires. So, I hope that when readers pick up Empire Falls and read the first chapter they’ll feel that, yes, they’re in a Russo novel, but not one they’ve read before. I’d also hope that their surprises in the reading parallel my own in the writing; I was surprised on virtually every page, and I hope readers will be too, because I wouldn’t like to think that either my style or my peculiar way of seeing things have become predictable. What surprised me most about the book was how much it took out of me. Even though we know it won’t, most authors keep hoping that writing novels will get easier as a result of experience. It doesn’t, probably because it’s not supposed to.

From the Hardcover edition.

Q: Was there a particular event or image that sparked EMPIRE FALLS?A: When I finish a novel, it’s hard to go back and try to reconstruct its beginnings. It’s a little like an interrogation: what did you know and when did you know it? Here are a couple of things, though. When I was living in Waterville, Maine, some years ago, a factory closed down that had employed a large number of women who had been sewing famous-label men’s dress shirts for much of their lives. They’d done everything they could to save their jobs and the factory, but the multi-national company that owned it shut them down anyway. That struck me as a story that was playing out all over the country, if not the world. From the beginning of my writing career, I’ve always been interested in ordinary people swept up in economic and political forces they can’t begin to comprehend, as well as in the changing face of American labor. Becoming a writer has only deepened my sympathies for working people, who are always, it seems to me, the first to be sold out.The other event that had burrowed deep was the school shooting in Paducah, especially the question it begged: how could such a thing happen here? The answers that are typically offered to such questions are sociological and political—tighter gun control, return to family values, reducing violence on television and video games. Better answers to such impossible questions, I’ve always thought, are offered by novels, which ask you to live horror rather than simply witness or think about it.Finally, in my previous novels I’ve written a lot about fathers and sons. As a father of two beloved daughters, I thought it high time to put a father/daughter relationship at the heart of one of my novels. In fact, now that I look back on it, it’s the thing I’m most proud of in this new book.Q: EMPIRE FALLS has a large cast of characters, any of whom might have been the center of the novel. How did you decide on Miles Roby, the middle-aged manager of the Empire Grill, as your protagonist?A: I suppose there are two answers to this question. The first is kind of a non-answer, though it may be the truer. Such decisions are often intuitive; they feel right. Which is another way of saying that you decide before you’re even aware of the fact that you have a decision to make. The more “analytical” answer is that of all the characters in the novel, Miles may be the most trapped—and that’s saying something, since they’re all trapped in one way or another. Janine is trapped by her need to be beautiful; Tick by her youth; David Roby by an accident. Even Mrs. Whiting, who rules the town, is in a way cornered by it. But Miles is trapped more interestingly and more completely–by the past, by his faith, by an old love, by his devotion to his daughter, by his own decency. I’m always drawn to the character whose dilemma is such that I can’t imagine what I would do if I were in his shoes.Q: People in Empire Falls often remind Miles that he stands to inherit something from Mrs. Whiting, yet the very possibility of this inheritance seems to imprison him. Is this an example of the price of wealth, even predicted wealth?A: I suppose that’s one way to look at it. My own feeling is that people are generally wrong to wait for others to make good on promises, either explicit or implied. Was it Lillian Hellman who used to tell young women writers: “Don’t expect anyone to save you? Save yourself.” Maybe it was Flannery O’Connor. Somebody pretty damn smart, anyway. It’s good advice, but tough to follow when you’ve been told the check’s in the mail. Whole communities wait for promises to be fulfilled, long after those who made the promises are dead and buried. And like individuals, communities imagine promises and also mishear them. Miles is pretty sure Mrs. Whiting has made a promise, but is it one he heard? Imagined? Hoped for? And even if it were granted, would that be a good or bad thing?Q: Can you talk about the effect of the collapse of small-town economies on the younger generation, as represented by Miles’s daughter Tick and her peers?A: I think the place you grow up in is a lot like “The Hotel California”: you can check out any time you like, but you can never leave. We’ll never know any place better than the place we grew up, and no place, I suspect, will ever be more important to us, at least in terms of our imaginative lives. For that reason there’s something tragic in the understanding that many kids from small towns have—that in order to be a success in life, they’ll have to leave; to remain behind would be an admission of failure. For many, it means leaving their heart’s home. Then again, there’s a long American tradition, embodied in the novels of Scott Fitzgerald and Sinclair Lewis and others, which suggests that leaving a small town may be about the best thing that can happen to any young person. One thing seems clear: we’ve become a far-flung nation. “Where do you want to go today?” Bill Gates wants to know. Implied is that nobody wants to stay home.Q: Miles considers the rich “beautiful people” on Martha’s Vineyard almost foreign to him, and yet he’s drawn to them. Do you find yourself identifying with this perspective?A: Well, who isn’t attracted to beauty? Or, for that matter, to things foreign? Both Gatsby and Nick Carroway are attracted to the mansions and the fancy cars and the wild parties on Long Island, just as Pip is attracted to privilege in Great Expectations. Show me someone who claims not to be attracted to such things and I’ll show you either a liar or a person with no imagination. That said, wealth and beauty play a key role in Gatsby’s destruction, and they cause Pip to behave in such a way that he loses all sense of his truest self. In the end they send Nick scurrying back to his bedrock Midwest values, feeling like he himself has dodged a bullet. Such is the nature of seduction.Q: How do you imagine Mainers, and other New Englanders, will respond to the novel?A: No clue. I thought academics would hate my last novel, Straight Man, but for the most part they’ve embraced it. When I read from the novel on book tour, professors showed up wearing those fake nose/glasses I have Lucky Hank wearing when he threatens to kill a duck a day. In general, I think people like having their experience of life validated; they like to think they count and they’re glad you’ve noticed them, even if you get things wrong. In Empire Falls, I didn’t want to “do Maine” in the sense of using a lot of down-east dialect or local color. Even when I was writing about upstate New York, I was always more interested in locating people by class and work than by region; it’s the latter that makes you a “regional” writer, I suspect. I hope people in Maine like the book; in the past, I’ve sold very well in New England. But my greater hope is that the book will ring true everywhere.Q: What might surprise your readers about EMPIRE FALLS?A: Well, I hope everything and nothing. When a favorite author of mine comes out with a new book, I always hope for two contradictory things: first, I hope it’s like all the other books of his or hers that I love, and second, I hope he’s not going to repeat himself. Sure, it’s a paradox, but I suspect I’m not alone in my desires. So, I hope that when readers pick up Empire Falls and read the first chapter they’ll feel that, yes, they’re in a Russo novel, but not one they’ve read before. I’d also hope that their surprises in the reading parallel my own in the writing; I was surprised on virtually every page, and I hope readers will be too, because I wouldn’t like to think that either my style or my peculiar way of seeing things have become predictable. What surprised me most about the book was how much it took out of me. Even though we know it won’t, most authors keep hoping that writing novels will get easier as a result of experience. It doesn’t, probably because it’s not supposed to.

From the Hardcover edition.

Q: Was there a particular event or image that sparked EMPIRE FALLS?A: When I finish a novel, it’s hard to go back and try to reconstruct its beginnings. It’s a little like an interrogation: what did you know and when did you know it? Here are a couple of things, though. When I was living in Waterville, Maine, some years ago, a factory closed down that had employed a large number of women who had been sewing famous-label men’s dress shirts for much of their lives. They’d done everything they could to save their jobs and the factory, but the multi-national company that owned it shut them down anyway. That struck me as a story that was playing out all over the country, if not the world. From the beginning of my writing career, I’ve always been interested in ordinary people swept up in economic and political forces they can’t begin to comprehend, as well as in the changing face of American labor. Becoming a writer has only deepened my sympathies for working people, who are always, it seems to me, the first to be sold out.The other event that had burrowed deep was the school shooting in Paducah, especially the question it begged: how could such a thing happen here? The answers that are typically offered to such questions are sociological and political—tighter gun control, return to family values, reducing violence on television and video games. Better answers to such impossible questions, I’ve always thought, are offered by novels, which ask you to live horror rather than simply witness or think about it.Finally, in my previous novels I’ve written a lot about fathers and sons. As a father of two beloved daughters, I thought it high time to put a father/daughter relationship at the heart of one of my novels. In fact, now that I look back on it, it’s the thing I’m most proud of in this new book.Q: EMPIRE FALLS has a large cast of characters, any of whom might have been the center of the novel. How did you decide on Miles Roby, the middle-aged manager of the Empire Grill, as your protagonist?A: I suppose there are two answers to this question. The first is kind of a non-answer, though it may be the truer. Such decisions are often intuitive; they feel right. Which is another way of saying that you decide before you’re even aware of the fact that you have a decision to make. The more “analytical” answer is that of all the characters in the novel, Miles may be the most trapped—and that’s saying something, since they’re all trapped in one way or another. Janine is trapped by her need to be beautiful; Tick by her youth; David Roby by an accident. Even Mrs. Whiting, who rules the town, is in a way cornered by it. But Miles is trapped more interestingly and more completely–by the past, by his faith, by an old love, by his devotion to his daughter, by his own decency. I’m always drawn to the character whose dilemma is such that I can’t imagine what I would do if I were in his shoes.Q: People in Empire Falls often remind Miles that he stands to inherit something from Mrs. Whiting, yet the very possibility of this inheritance seems to imprison him. Is this an example of the price of wealth, even predicted wealth?A: I suppose that’s one way to look at it. My own feeling is that people are generally wrong to wait for others to make good on promises, either explicit or implied. Was it Lillian Hellman who used to tell young women writers: “Don’t expect anyone to save you? Save yourself.” Maybe it was Flannery O’Connor. Somebody pretty damn smart, anyway. It’s good advice, but tough to follow when you’ve been told the check’s in the mail. Whole communities wait for promises to be fulfilled, long after those who made the promises are dead and buried. And like individuals, communities imagine promises and also mishear them. Miles is pretty sure Mrs. Whiting has made a promise, but is it one he heard? Imagined? Hoped for? And even if it were granted, would that be a good or bad thing?Q: Can you talk about the effect of the collapse of small-town economies on the younger generation, as represented by Miles’s daughter Tick and her peers?A: I think the place you grow up in is a lot like “The Hotel California”: you can check out any time you like, but you can never leave. We’ll never know any place better than the place we grew up, and no place, I suspect, will ever be more important to us, at least in terms of our imaginative lives. For that reason there’s something tragic in the understanding that many kids from small towns have—that in order to be a success in life, they’ll have to leave; to remain behind would be an admission of failure. For many, it means leaving their heart’s home. Then again, there’s a long American tradition, embodied in the novels of Scott Fitzgerald and Sinclair Lewis and others, which suggests that leaving a small town may be about the best thing that can happen to any young person. One thing seems clear: we’ve become a far-flung nation. “Where do you want to go today?” Bill Gates wants to know. Implied is that nobody wants to stay home.Q: Miles considers the rich “beautiful people” on Martha’s Vineyard almost foreign to him, and yet he’s drawn to them. Do you find yourself identifying with this perspective?A: Well, who isn’t attracted to beauty? Or, for that matter, to things foreign? Both Gatsby and Nick Carroway are attracted to the mansions and the fancy cars and the wild parties on Long Island, just as Pip is attracted to privilege in Great Expectations. Show me someone who claims not to be attracted to such things and I’ll show you either a liar or a person with no imagination. That said, wealth and beauty play a key role in Gatsby’s destruction, and they cause Pip to behave in such a way that he loses all sense of his truest self. In the end they send Nick scurrying back to his bedrock Midwest values, feeling like he himself has dodged a bullet. Such is the nature of seduction.Q: How do you imagine Mainers, and other New Englanders, will respond to the novel?A: No clue. I thought academics would hate my last novel, Straight Man, but for the most part they’ve embraced it. When I read from the novel on book tour, professors showed up wearing those fake nose/glasses I have Lucky Hank wearing when he threatens to kill a duck a day. In general, I think people like having their experience of life validated; they like to think they count and they’re glad you’ve noticed them, even if you get things wrong. In Empire Falls, I didn’t want to “do Maine” in the sense of using a lot of down-east dialect or local color. Even when I was writing about upstate New York, I was always more interested in locating people by class and work than by region; it’s the latter that makes you a “regional” writer, I suspect. I hope people in Maine like the book; in the past, I’ve sold very well in New England. But my greater hope is that the book will ring true everywhere.Q: What might surprise your readers about EMPIRE FALLS?A: Well, I hope everything and nothing. When a favorite author of mine comes out with a new book, I always hope for two contradictory things: first, I hope it’s like all the other books of his or hers that I love, and second, I hope he’s not going to repeat himself. Sure, it’s a paradox, but I suspect I’m not alone in my desires. So, I hope that when readers pick up Empire Falls and read the first chapter they’ll feel that, yes, they’re in a Russo novel, but not one they’ve read before. I’d also hope that their surprises in the reading parallel my own in the writing; I was surprised on virtually every page, and I hope readers will be too, because I wouldn’t like to think that either my style or my peculiar way of seeing things have become predictable. What surprised me most about the book was how much it took out of me. Even though we know it won’t, most authors keep hoping that writing novels will get easier as a result of experience. It doesn’t, probably because it’s not supposed to.

Author Essay

For his Author’s Desktop, Richard Russo spent a few days traveling around Maine gathering images that inspired Empire Falls or could easily be evoked by its pages. All of the photos were taken by Russo in early April 2001, and the captions are his.

For his Author’s Desktop, Richard Russo spent a few days traveling around Maine gathering images that inspired Empire Falls or could easily be evoked by its pages. All of the photos were taken by Russo in early April 2001, and the captions are his.